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Ajax is the son of Telamon, who was the son of Aeacus and grandson of Zeus, and his first wife Periboea. He is the cousin of Achilles, and is the elder half-brother of Teucer. Many illustrious Athenians, including Cimon, Miltiades, Alcibiades and the historian Thucydides, traced their descent from Ajax. On an Etruscan tomb dedicated to Racvi Satlnei in Bologna (5th century BC) there is an inscription that says, "aivastelmunsl" which means "family of Telamonian Ajax".[2]

The Belvedere Torso, a marble sculpture carved in the first Century BC depicting Ajax.

In Homer's Iliad he is described as of great stature, colossal frame and strongest of all the Achaeans. Known as the "bulwark of the Achaeans",[3] he was trained by the centaurChiron (who had trained Ajax' father Telamon and Achilles' father Peleus and would later die of an accidental wound inflicted by Heracles, whom he was at the time training), at the same time as Achilles. He was described as fearless, strong and powerful but also with a very high level of combat intelligence. Ajax commands his army wielding a huge shield made of seven cow-hides with a layer of bronze. Most notably, Ajax is not wounded in any of the battles described in the Iliad, and he is the only principal character on either side who does not receive substantial assistance from any of the gods (except for Agamemnon) who take part in the battles, although, in book 13, Poseidon strikes Ajax with his staff, renewing his strength. Unlike Diomedes, Agamemnon, and Achilles, Ajax appears as a mainly defensive warrior, instrumental in the defence of the Greek camp and ships and that of Patroclus' body. When the Trojans are on the offensive, he is often seen covering the retreat of the Achaeans. Significantly, while one of the deadliest heroes in the whole poem, Ajax has no aristeia depicting him on the offensive.

In the Iliad, Ajax is notable for his abundant strength and courage, seen particularly in two fights with Hector. In Book 7, Ajax is chosen by lot to meet Hector in a duel which lasts most of a whole day. Ajax at first gets the better of the encounter, wounding Hector with his spear and knocking him down with a large stone,[4] but Hector fights on until the heralds, acting at the direction of Zeus, call a draw, with the two combatants exchanging gifts, Ajax giving Hector a purple sash and Hector giving Ajax his sharp sword.

The second fight between Ajax and Hector occurs when the latter breaks into the Mycenaean camp, and fights with the Greeks among the ships. In Book 14, Ajax throws a giant rock at Hector which almost kills him.[5] In Book 15, Hector is restored to his strength by Apollo and returns to attack the ships. Ajax, wielding an enormous spear as a weapon and leaping from ship to ship, holds off the Trojan armies virtually single-handedly. In Book 16, Hector and Ajax duel once again. Hector then disarms Ajax (although Ajax is not hurt) and Ajax is forced to retreat, seeing that Zeus is clearly favoring Hector. Hector and the Trojans succeed in burning one Greek ship, the culmination of an assault that almost finishes the war. Ajax is responsible for the death of many Trojans lords, including Phorcys.

Ajax often fought in tandem with his brother Teucer, known for his skill with the bow. Ajax would wield his magnificent shield, as Teucer stood behind picking off enemy Trojans.

Achilles was absent during these encounters because of his feud with Agamemnon. In Book 9, Agamemnon and the other Mycenaean chiefs send Ajax, Odysseus and Phoenix to the tent of Achilles in an attempt to reconcile with the great warrior and induce him to return to the fight. Although Ajax speaks earnestly and is well received, he does not succeed in convincing Achilles.

When Patroclus is killed, Hector tries to steal his body. Ajax, assisted by Menelaus, succeeds in fighting off the Trojans and taking the body back with his chariot; however, the Trojans have already stripped Patroclus of Achilles' armor. Ajax's prayer to Zeus to remove the fog that has descended on the battle to allow them to fight or die in the light of day has become proverbial. According to Hyginus, in total, Ajax killed 28 people at Troy.[6]

As the Iliad comes to a close, Ajax and the majority of other Greek warriors are alive and well. When Achilles dies, killed by Paris (with help from Apollo), Ajax and Odysseus are the heroes who fight against the Trojans to get the body and bury it with his companion, Patroclus.[7] Ajax, with his great shield and spear, manages to recover the body and carry it to the ships, while Odysseus fights off the Trojans.[8] After the burial, each claims Achilles' magical armor for himself as recognition for his heroic efforts. After several days of competition, Odysseus and Ajax are tied for the ownership of the divine armor, which had been forged on Mount Olympus by the smith-god Hephaestus. It is then that a competition is held to determine who deserves the armor. Ajax argues that because of his strength and the fighting he has done for the Greeks, including saving the ships from Hector, and driving him off with a massive rock, he deserves the armor.[9] However, Odysseus proves to be more eloquent, and with the aid of Athena, the council gives him the armor. Ajax, "Unconquered", and furious, becomes crazed and slaughters the Achaians' herds of captured livestock, believing them to be his enemies through a trick of Athena. Unable to deal with this dual dishonor, he falls upon his own sword, "conquered by his [own] sorrow," and commits suicide.[10][11]
The Belvedere Torso, a marble torso now in the Vatican Museums, is considered to depict Ajax "in the act of contemplating his suicide".[12]

In Sophocles' play Ajax, a famous retelling of Ajax's demise, after the armor is awarded to Odysseus Ajax feels so insulted that he wants to kill Agamemnon and Menelaus. Athena intervenes and clouds his mind and vision, and he goes to a flock of sheep and slaughters them, imagining they are the Achaean leaders, including Odysseus and Agamemnon. When he comes to his senses, covered in blood, he realizes that what he has done has diminished his honor, and decides that he prefers to kill himself rather than live in shame. He does so with the same sword which Hector gave him when they exchanged presents.[13] From his blood sprang a red flower, as at the death of Hyacinthus, which bore on its leaves the initial letters of his name Ai, also expressive of lament.[14] His ashes were deposited in a golden urn on the Rhoetean promontory at the entrance of the Hellespont.[15]

Ajax's half-brother Teucer stood trial before his father for not bringing Ajax's body or famous weapons back. Teucer was acquitted for responsibility but found guilty of negligence. He was disowned by his father and was not allowed to return to his home, the island of Salamis off the coast of Athens.

Homer is somewhat vague about the precise manner of Ajax's death but does ascribe it to his loss in the dispute over Achilles' armor; when Odysseus visits Hades, he begs the soul of Ajax to speak to him, but Ajax, still resentful over the old quarrel, refuses and descends silently back into Erebus.

Like Achilles, he is represented (although not by Homer) as living after his death on the island of Leuke at the mouth of the Danube.[16] Ajax, who in the post-Homeric legend is described as the grandson of Aeacus and the great-grandson of Zeus, was the tutelary hero of the island of Salamis, where he had a temple and an image, and where a festival called Aianteia was celebrated in his honour.[17] At this festival a couch was set up, on which the panoply of the hero was placed, a practice which recalls the Roman Lectisternium. The identification of Ajax with the family of Aeacus was chiefly a matter which concerned the Athenians, after Salamis had come into their possession, on which occasion Solon is said to have inserted a line in the Iliad (2.557–558),[18] for the purpose of supporting the Athenian claim to the island. Ajax then became an Attic hero; he was worshiped at Athens, where he had a statue in the market-place, and the tribe Aiantis was named after him.[15] Pausanias also relates that a gigantic skeleton, its kneecap 5 inches (13 cm) in diameter, appeared on the beach near Sigeion, on the Trojan coast; these bones were identified as those of Ajax.

In 2001, Yannos Lolos began excavating a Mycenaean palace on the island of Salamis which he supposed to be the home of the mythological Aiacid dynasty. The ruins have been excavated at a site near the village of Kanakia of Salamis, a few miles off the coast of Athens. The multi-story structure covers 750 m2 (8,100 sq ft) and had perhaps 30 rooms. The Trojan War perhaps occurred at the height of the Mycenaean civilization (see discussion of Troy VII), roughly the point at which this palace appears to have been abandoned.[19]

^ ab One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Ajax". Encyclopædia Britannica. 1 (11th ed.). Cambridge University Press. p. 452.

1.
John Flaxman
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John Flaxman R. A. was a British sculptor and draughtsman, and a leading figure in British and European Neoclassicism. Early in his career he worked as a modeller for Josiah Wedgwoods pottery and he spent several years in Rome, where he produced his first book illustrations. He was a maker of funerary monuments. His father, also named John, was known as a moulder and seller of plaster casts at the sign of the Golden Head, New Street, Covent Garden. His wifes maiden name was Lee, and they had two children, William and John, within six months of Johns birth the family returned to London. He was a child, high-shouldered, with a head too large for his body. His mother died when he was nine, and his father remarried and he had little schooling, and was largely self-educated. He took delight in drawing and modelling from his fathers stock-in-trade and his fathers customers helped him with books, advice, and later with commissions. Particularly significant were the painter George Romney, and a clergyman, Anthony Stephen Mathew. In the same year,1770, he entered the Academy as a student, in the competition for the gold medal of the Academy in 1772, however, Flaxman was defeated, the prize being awarded by the president, Sir Joshua Reynolds, to a competitor named Engleheart. This episode seemed to help cure Flaxman of a tendency to conceit which led Thomas Wedgwood V to say of him in 1775, It is and he continued to work diligently, both as a student and as an exhibitor at the Academy, with occasional attempts at painting. To the Academy he contributed a wax model of Neptune, four models in wax, a terracotta bust, a wax figure of a child, an historical figure, a figure of Comedy. During this period he received a commission from a friend of the Mathew family for a statue of Alexander the Great, but he was unable to obtain a regular income from private contracts. From 1775 he was employed by the potter Josiah Wedgwood and his partner Bentley, for whom his father had also some work. The usual procedure was to model the reliefs in wax on slate or glass grounds before they cast for production, dHancarvilles engravings of Sir William Hamiltons collection of ancient Greek vases were an important influence on his work. By 1780 Flaxman had also begun to earn money by sculpting grave monuments, during the rest of Flaxmans career memorial bas-reliefs of this type made up the bulk of his output, and are to be found in many churches throughout England. One example, the monument to George Steevens, originally in St Matthais Old Church, is now in the Fitzwilliam Museum, in 1782, aged 27, Flaxman married Anne Denman, who was to assist him throughout his career. She was well-educated, and a devoted companion and they set up house in Wardour Street, and usually spent their summer holidays as guests of the poet William Hayley, at Eartham in Sussex

2.
Trojan War
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In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans after Paris of Troy took Helen from her husband Menelaus, king of Sparta. The war is one of the most important events in Greek mythology and has been narrated through many works of Greek literature, most notably through Homers Iliad. The Iliad relates four days in the year of the decade-long siege of Troy. Other parts of the war are described in a cycle of epic poems, episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets including Virgil and Ovid. Zeus sent the goddesses to Paris, who judged that Aphrodite, as the fairest, in exchange, Aphrodite made Helen, the most beautiful of all women and wife of Menelaus, fall in love with Paris, who took her to Troy. Agamemnon, king of Mycenae and the brother of Helens husband Menelaus, led an expedition of Achaean troops to Troy and besieged the city for ten years because of Paris insult. After the deaths of heroes, including the Achaeans Achilles and Ajax, and the Trojans Hector and Paris. The Achaeans slaughtered the Trojans and desecrated the temples, thus earning the gods wrath, few of the Achaeans returned safely to their homes and many founded colonies in distant shores. The Romans later traced their origin to Aeneas, one of the Trojans, in 1868, however, the German archaeologist Heinrich Schliemann met Frank Calvert, who convinced Schliemann that Troy was a real city at what is now Hissarlik in Turkey. On the basis of excavations conducted by Schliemann and others, this claim is now accepted by most scholars, whether there is any historical reality behind the Trojan War remains an open question. The events of the Trojan War are found in works of Greek literature. There is no single, authoritative text which tells the events of the war. Instead, the story is assembled from a variety of sources, the most important literary sources are the two epic poems traditionally credited to Homer, the Iliad and the Odyssey, composed sometime between the 9th and 6th centuries BC. Each poem narrates only a part of the war, the Iliad covers a short period in the last year of the siege of Troy, while the Odyssey concerns Odysseuss return to his home island of Ithaca, following the sack of Troy. Other parts of the Trojan War were told in the poems of the Epic Cycle, also known as the Cyclic Epics, the Cypria, Aethiopis, Little Iliad, Iliou Persis, Nostoi, and Telegony. Though these poems survive only in fragments, their content is known from an included in Proclus Chrestomathy. The authorship of the Cyclic Epics is uncertain, both the Homeric epics and the Epic Cycle take origin from oral tradition. Even after the composition of the Iliad, Odyssey, and the Cyclic Epics, events and details of the story that are only found in later authors may have been passed on through oral tradition and could be as old as the Homeric poems

3.
Achilles
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In Greek mythology, Achilles was a Greek hero of the Trojan War and the central character and greatest warrior of Homers Iliad. His mother was the immortal nymph Thetis, and his father, Achilles’ most notable feat during the Trojan War was the slaying of the Trojan hero Hector outside the gates of Troy. Although the death of Achilles is not presented in the Iliad, other sources concur that he was killed near the end of the Trojan War by Paris, later legends state that Achilles was invulnerable in all of his body except for his heel. Alluding to these legends, the term Achilles heel has come to mean a point of weakness, Achilles name can be analyzed as a combination of ἄχος grief and λαός a people, tribe, nation. In other words, Achilles is an embodiment of the grief of the people, Achilles role as the hero of grief forms an ironic juxtaposition with the conventional view of Achilles as the hero of κλέος kleos. Laos has been construed by Gregory Nagy, following Leonard Palmer, to mean a corps of soldiers, a muster. With this derivation, the name would have a meaning in the poem, when the hero is functioning rightly, his men bring grief to the enemy. The poem is in part about the misdirection of anger on the part of leadership, R. S. P. Beekes has suggested a Pre-Greek origin of the name. The name Achilleus was a common and attested name among the Greeks soon after the 7th century BC. It was also turned into the female form Ἀχιλλεία attested in Attica in the 4th century BC and, in the form Achillia, Achilles was the son of the Nereid Thetis and Peleus, the king of the Myrmidons. Zeus and Poseidon had been rivals for the hand of Thetis until Prometheus, for this reason, the two gods withdrew their pursuit, and had her wed Peleus. Thetis, although a daughter of the sea-god Nereus, was brought up by Hera. According to the Achilleid, written by Statius in the 1st century AD, and to no surviving previous sources, however, he was left vulnerable at the part of the body by which she held him, his heel. It is not clear if this version of events was known earlier, in another version of this story, Thetis anointed the boy in ambrosia and put him on top of a fire, to burn away the mortal parts of his body. She was interrupted by Peleus and abandoned both father and son in a rage, however, none of the sources before Statius makes any reference to this general invulnerability. To the contrary, in the Iliad Homer mentions Achilles being wounded, in Book 21 the Paeonian hero Asteropaeus, son of Pelagon and he cast two spears at once, one grazed Achilles elbow, drawing a spurt of blood. Peleus entrusted Achilles to Chiron the Centaur, on Mt. Pelion, Achilles consuming rage is at times wavering, but at other times he cannot be cooled. Thetis foretold that her sons fate was either to gain glory and die young, or to live a long, Achilles chose the former, and decided to take part in the Trojan war

4.
Patroclus
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In Greek mythology, as recorded in Homers Iliad, Patroclus was the son of Menoetius, grandson of Actor, King of Opus, and Achilles beloved and brother-in-arms. According to Hyginus, Patroclus is the child of Menoetius and Philomela, Homer also references Menoetius as the individual who gave Patroclus to Peleus. Menoetius is the son of Actor, King of Opus in Locris by Aegina, Aegina was a daughter of Asopus and mother of Aeacus by Zeus. Aeacus was father of Peleus, Telamon and Phocus, Actor was a son of Deioneus, King of Phocis and Diomede. His paternal grandparents were Aeolus of Thessaly and Enarete and his maternal grandparents were Xuthus and Creusa, daughter of Erechtheus and Praxithea. During his childhood, Patroclus had killed another child in anger over a game, Menoetius gave Patroclus to Peleus, Achilles father, who named Patroclus one of Achilles henchmen as Patroclus and Achilles grew up together. Patroclus acted as a role model for Achilles, as he was both older than Achilles and wise regarding counsel. According to the Iliad, when the tide of war had turned against the Greeks, Achilles consented, giving Patroclus the armor Achilles had received from his father, in order for Patroclus to impersonate Achilles. Achilles then told Patroclus to return after beating the Trojans back from their ships, Patroclus defied Achilles order and pursued the Trojans back to the gates of Troy. Patroclus killed many Trojans, including a son of Zeus, Sarpedon, while battling, Patroclus wits were removed by Apollo, after which Patroclus was hit with the spear of Euphorbos. Hector then killed Patroclus by stabbing him in the stomach with a spear, Achilles retrieved the body, which had been stripped of armor by Hector and protected on the battlefield by Menelaus and Ajax. Achilles did not allow for the burial of Patroclus body until the ghost of Patroclus appeared and demanded burial in order to pass into Hades, Patroclus was then cremated on a funeral pyre, which was covered in the hair of his sorrowful companions. As the cutting of hair was a sign of grief while also acting as a sign of the separation of the living and the dead, the ashes of Achilles were said to have been buried in a golden urn along with those of Patroclus by the Hellespont. Although Homer does not mention it, there is whether or not Achilles. Morales and Mariscal continue stating, there is a tradition concerning the nature of the relationship between the two heroes. According to Grace Ledbetter, there is a train of thought that Patroclus could have been a representation of the side of Achilles. In fact, the first line of Homers Iliad mentions Achilles anger, Ledbetter does so by comparing how Thetis comforts the weeping Achilles in Book 1 of the Iliad to how Achilles comforts Patroclus as he weeps in Book 16. Achilles uses a simile containing a young girl looking at her mother to complete the comparison

5.
Pottery of ancient Greece
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The shards of pots discarded or buried in the 1st millennium BC are still the best guide available to understand the customary life and mind of the ancient Greeks. There were various specific regional varieties, such as the South Italian ancient Greek pottery, throughout these places, various types and shapes of vases were used. Some were highly decorative and meant for consumption and domestic beautification as much as serving a storage or other function. As the culture recovered Sub-Mycenaean pottery finally blended into the Protogeometric style, the rise of vase painting saw increasing decoration. Geometric art in Greek pottery was contiguous with the late Dark Age and early Archaic Greece, the pottery produced in Archaic and Classical Greece included at first black-figure pottery, yet other styles emerged such as red-figure pottery and the white ground technique. Styles such as West Slope Ware were characteristic of the subsequent Hellenistic period, interest in Greek art lagged behind the revival of classical scholarship during the Renaissance and revived in the academic circle round Nicholas Poussin in Rome in the 1630s. Though modest collections of vases recovered from ancient tombs in Italy were made in the 15th and 16th centuries these were regarded as Etruscan. It is possible that Lorenzo de Medici bought several Attic vases directly from Greece and it was Gerhard who first outlined the chronology we now use, namely, Orientalizing, Black Figure, Red Figure, Polychromatic. Where the 19th century was a period of discovery and the out of first principles the 20th century has been one of consolidation. Efforts to record and publish the totality of public collections of vases began with the creation of the Corpus vasorum antiquorum under Edmond Pottier, Beazley and others following him have also studied fragments of Greek pottery in institutional collections, and have attributed many painted pieces to individual artists. Scholars have called these fragments disjecta membra and in a number of instances have been able to identify fragments now in different collections that belong to the same vase, some vase shapes were especially associated with rituals, others with athletics and the gymnasium. Within each category the forms are roughly the same in scale and whether open or closed, some have a purely ritual function, for example white ground lekythoi contained the oil used as funerary offerings and appear to have been made solely with that object in mind. Many examples have a second cup inside them to give the impression of being full of oil. There was a market for Greek pottery since the 8th century BC. An idea of the extent of trade can be gleaned from plotting the find maps of these vases outside of Greece. Only the existence of a second hand market could account for the number of found in Etruscan tombs. South Italian wares came to dominate the trade in the Western Mediterranean as Athens declined in political importance during the Hellenistic period. The process of making a pot and firing it is fairly simple, the first thing a potter needs is clay

6.
Troy
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The present-day location is known as Hisarlik. It was the setting of the Trojan War described in the Greek Epic Cycle, in particular in the Iliad, a new capital called Ilium was founded on the site in the reign of the Roman Emperor Augustus. It flourished until the establishment of Constantinople and declined gradually in the Byzantine era and these excavations revealed several cities built in succession. Troy VII has been identified with the city that the Hittites called Wilusa, the origin of the Greek Ἴλιον. Today, the hill at Hisarlık has given its name to a village near the ruins. It lies within the province of Çanakkale, some 30 km south-west of the provincial capital, the map here shows the adapted Scamander estuary with Ilium a little way inland across the Homeric plain. Troy was added to the UNESCO World Heritage list in 1998, Ancient Greek historians variously placed the Trojan War in the 12th, 13th, or 14th centuries BC, Eratosthenes to 1184 BC, Herodotus to 1250 BC, Duris of Samos to 1334 BC. Modern archaeologists associate Homeric Troy with archaeological Troy VII, in the Iliad, the Achaeans set up their camp near the mouth of the River Scamander, where they had beached their ships. The city of Troy itself stood on a hill, across the plain of Scamander, recent geological findings have permitted the identification of the ancient Trojan coastline, and the results largely confirm the accuracy of the Homeric geography of Troy. In November 2001, the geologist John C, kraft from the University of Delaware and the classicist John V. Luce from Trinity College, Dublin, presented the results of investigations, begun in 1977, into the geology of the region. Besides the Iliad, there are references to Troy in the major work attributed to Homer. The Homeric legend of Troy was elaborated by the Roman poet Virgil in his Aeneid, the Greeks and Romans took for a fact the historicity of the Trojan War and the identity of Homeric Troy with the site in Anatolia. Alexander the Great, for example, visited the site in 334 BC and there made sacrifices at tombs associated with the Homeric heroes Achilles and Patroclus. After the 1995 find of a Luwian biconvex seal at Troy VII, with the rise of critical history, Troy and the Trojan War were, for a long time, consigned to the realms of legend. However, the location of ancient Troy had from classical times remained the subject of interest. The Troad peninsula was anticipated to be the location, leChavaliers location, published in his Voyage de la Troade, was the most commonly accepted theory for almost a century. In 1822, the Scottish journalist Charles Maclaren was the first to identify with confidence the position of the city as it is now known, the hill, near the city of Çanakkale, was known as Hisarlık. In 1868, Heinrich Schliemann visited Calvert and secured permission to excavate Hisarlık, in 1871–73 and 1878–79, he excavated the hill and discovered the ruins of a series of ancient cities dating from the Bronze Age to the Roman period

7.
Turkey
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Turkey, officially the Republic of Turkey, is a transcontinental country in Eurasia, mainly in Anatolia in Western Asia, with a smaller portion on the Balkan peninsula in Southeast Europe. Turkey is a democratic, secular, unitary, parliamentary republic with a cultural heritage. The country is encircled by seas on three sides, the Aegean Sea is to the west, the Black Sea to the north, and the Mediterranean Sea to the south. The Bosphorus, the Sea of Marmara, and the Dardanelles, Ankara is the capital while Istanbul is the countrys largest city and main cultural and commercial centre. Approximately 70-80% of the countrys citizens identify themselves as ethnic Turks, other ethnic groups include legally recognised and unrecognised minorities. Kurds are the largest ethnic minority group, making up approximately 20% of the population, the area of Turkey has been inhabited since the Paleolithic by various ancient Anatolian civilisations, as well as Assyrians, Greeks, Thracians, Phrygians, Urartians and Armenians. After Alexander the Greats conquest, the area was Hellenized, a process continued under the Roman Empire. The Seljuk Sultanate of Rûm ruled Anatolia until the Mongol invasion in 1243, the empire reached the peak of its power in the 16th century, especially during the reign of Suleiman the Magnificent. During the war, the Ottoman government committed genocides against its Armenian, Assyrian, following the war, the conglomeration of territories and peoples that formerly comprised the Ottoman Empire was partitioned into several new states. Turkey is a member of the UN, an early member of NATO. Turkeys growing economy and diplomatic initiatives have led to its recognition as a regional power while her location has given it geopolitical, the name of Turkey is based on the ethnonym Türk. The first recorded use of the term Türk or Türük as an autonym is contained in the Old Turkic inscriptions of the Göktürks of Central Asia, the English name Turkey first appeared in the late 14th century and is derived from Medieval Latin Turchia. Similarly, the medieval Khazar Empire, a Turkic state on the shores of the Black. The medieval Arabs referred to the Mamluk Sultanate as al-Dawla al-Turkiyya, the Ottoman Empire was sometimes referred to as Turkey or the Turkish Empire among its European contemporaries. The Anatolian peninsula, comprising most of modern Turkey, is one of the oldest permanently settled regions in the world, various ancient Anatolian populations have lived in Anatolia, from at least the Neolithic period until the Hellenistic period. Many of these peoples spoke the Anatolian languages, a branch of the larger Indo-European language family, in fact, given the antiquity of the Indo-European Hittite and Luwian languages, some scholars have proposed Anatolia as the hypothetical centre from which the Indo-European languages radiated. The European part of Turkey, called Eastern Thrace, has also been inhabited since at least forty years ago. It is the largest and best-preserved Neolithic site found to date, the settlement of Troy started in the Neolithic Age and continued into the Iron Age

8.
Iliad
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The Iliad is an ancient Greek epic poem in dactylic hexameter, traditionally attributed to Homer. Then the epic narrative takes up events prophesied for the future, such as Achilles imminent death and the fall of Troy, although the narrative ends before these events take place. However, as events are prefigured and alluded to more and more vividly. The Iliad is paired with something of a sequel, the Odyssey, along with the Odyssey, the Iliad is among the oldest extant works of Western literature, and its written version is usually dated to around the 8th century BC. Recent statistical modelling based on language evolution gives a date of 760–710 BC, in the modern vulgate, the Iliad contains 15,693 lines, it is written in Homeric Greek, a literary amalgam of Ionic Greek and other dialects. Note, Book numbers are in parentheses and come before the synopsis of the book, after an invocation to the Muses, the story launches in medias res towards the end of the Trojan War between the Trojans and the besieging Greeks. Chryses, a Trojan priest of Apollo, offers the Greeks wealth for the return of his daughter Chryseis, held captive of Agamemnon, although most of the Greek army is in favour of the offer, Agamemnon refuses. Chryses prays for Apollos help, and Apollo causes a plague to afflict the Greek army, after nine days of plague, Achilles, the leader of the Myrmidon contingent, calls an assembly to deal with the problem. Under pressure, Agamemnon agrees to return Chryseis to her father, angered, Achilles declares that he and his men will no longer fight for Agamemnon but will go home. Odysseus takes a ship and returns Chryseis to her father, whereupon Apollo ends the plague, in the meantime, Agamemnons messengers take Briseis away. Achilles becomes very upset, sits by the seashore, and prays to his mother, Achilles asks his mother to ask Zeus to bring the Greeks to the breaking point by the Trojans, so Agamemnon will realize how much the Greeks need Achilles. Thetis does so, and Zeus agrees, Zeus sends a dream to Agamemnon, urging him to attack Troy. Agamemnon heeds the dream but decides to first test the Greek armys morale, the plan backfires, and only the intervention of Odysseus, inspired by Athena, stops a rout. Odysseus confronts and beats Thersites, a soldier who voices discontent about fighting Agamemnons war. After a meal, the Greeks deploy in companies upon the Trojan plain, the poet takes the opportunity to describe the provenance of each Greek contingent. When news of the Greek deployment reaches King Priam, the Trojans too sortie upon the plain, in a list similar to that for the Greeks, the poet describes the Trojans and their allies. The armies approach each other, but before they meet, Paris offers to end the war by fighting a duel with Menelaus, urged by his brother and head of the Trojan army, Hector. While Helen tells Priam about the Greek commanders from the walls of Troy, Paris is beaten, but Aphrodite rescues him and leads him to bed with Helen before Menelaus can kill him

9.
Aeneid
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The Aeneid is a Latin epic poem, written by Virgil between 29 and 19 BC, that tells the legendary story of Aeneas, a Trojan who travelled to Italy, where he became the ancestor of the Romans. It comprises 9,896 lines in dactylic hexameter, the hero Aeneas was already known to Greco-Roman legend and myth, having been a character in the Iliad. The Aeneid is widely regarded as Virgils masterpiece and one of the greatest works of Latin literature, the Aeneid can be divided into two halves based on the disparate subject matter of Books 1–6 and Books 7–12. These two halves are commonly regarded as reflecting Virgils ambition to rival Homer by treating both the Odysseys wandering theme and the Iliads warfare themes and this is, however, a rough correspondence, the limitations of which should be borne in mind. Virgil begins his poem with a statement of his theme and an invocation to the Muse and he then explains the reason for the principal conflict in the story, the resentment held by the goddess Juno against the Trojan people. This is consistent with her throughout the Homeric epics. Also in the manner of Homer, the story begins in medias res, with the Trojan fleet in the eastern Mediterranean. The fleet, led by Aeneas, is on a voyage to find a second home and it has been foretold that in Italy, he will give rise to a race both noble and courageous, a race which will become known to all nations. Juno is wrathful, because she had not been chosen in the judgment of Paris, also, Ganymede, a Trojan prince, was chosen to be the cup bearer to her husband, Jupiter—replacing Junos daughter, Hebe. Juno proceeds to Aeolus, King of the Winds, and asks that he release the winds to stir up a storm in exchange for a bribe, Aeolus does not accept the bribe, but agrees to carry out Junos orders, the storm then devastates the fleet. The fleet takes shelter on the coast of Africa, where Aeneas rouses the spirits of his men, There, Aeneass mother, Venus, in the form of a hunting woman very similar to the goddess Diana, encourages him and recounts to him the history of Carthage. At a banquet given in honour of the Trojans, Aeneas sadly recounts the events that occasioned the Trojans arrival. He begins the tale shortly after the war described in the Iliad, Cunning Ulysses devised a way for Greek warriors to gain entry into the walled city of Troy by hiding in a large wooden horse. The Greeks pretended to sail away, leaving a warrior, Sinon, to inform the Trojans that the horse was an offering and that if it were taken into the city, the Trojans would be able to conquer Greece. The Trojan priest Laocoön saw through the Greek plot and urged the horses destruction, then, in what would be seen by the Trojans as punishment from the gods, two serpents emerged from the sea and devoured Laocoön, along with his two sons. The Trojans then took the horse inside the walls, and after nightfall the armed Greeks emerged from it. In a dream, Hector, the fallen Trojan prince, advised Aeneas to flee with his family, Aeneas awoke and saw with horror what was happening to his beloved city. At first he tried to fight the enemy, but soon he lost his comrades and was alone to fend off the Greeks

10.
The Trojan Women
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The Trojan Women, also known as Troades, is a tragedy by the Greek playwright Euripides. 415 BC was also the year of the desecration of the hermai. The Trojan Women was the tragedy of a trilogy dealing with the Trojan War. The first tragedy, Alexandros, was about the recognition of the Trojan prince Paris who had abandoned in infancy by his parents. The second tragedy, Palamedes, dealt with Greek mistreatment of their fellow Greek Palamedes and this trilogy was presented at the Dionysia along with the comedic satyr play Sisyphos. The plots of this trilogy were not connected in the way that Aeschylus Oresteia was connected, Euripides did not favor such connected trilogies. Euripides won second prize at the City Dionysia for his effort, the four Trojan women of the play are the same that appear in the final book of the Iliad lamenting over the corpse of Hector. Taking place near the time is Hecuba, another play by Euripides. Euripidess play follows the fates of the women of Troy after their city has been sacked, their husbands killed, what follows shows how much the Trojan women have suffered as their grief is compounded when the Greeks dole out additional deaths and divide their shares of women. The Greek herald Talthybius arrives to tell the dethroned queen Hecuba what will befall her and her children, Hecuba will be taken away with the Greek general Odysseus, and Cassandra is destined to become the conquering general Agamemnons concubine. Cassandra, who can see the future, is delighted by this news, she sees that when they arrive in Argos. However, Cassandra is also cursed so that her visions of the future are never believed, the widowed princess Andromache arrives and Hecuba learns from her that her youngest daughter, Polyxena, has been killed as a sacrifice at the tomb of the Greek warrior Achilles. The Greek leaders are afraid that the boy grow up to avenge his father Hector. Helen, though not one of the Trojan women, is supposed to suffer greatly as well, Helen begs and tries to seduce her husband into sparing her life. Menelaus remains resolved to kill her, but the audience watching the play knows that he let her live. In the end, Talthybius returns, carrying with him the body of little Astyanax on Hectors shield, andromaches wish had been to bury her child herself, performing the proper rituals according to Trojan ways, but her ship had already departed. Talthybius gives the corpse to Hecuba, who prepares the body of her grandson for burial before they are taken off with Odysseus. Throughout the play, many of the Trojan women lament the loss of the land that reared them, the Israeli playwright Hanoch Levin also wrote his own version of the play, adding more disturbing scenes and scatological details

Leda and the Swan by Cesare da Sesto (c. 1506–1510, Wilton). The artist has been intrigued by the idea of Helen's unconventional birth; she and Clytemnestra are shown emerging from one egg; Castor and Pollux from another.

Helen and Menelaus: Menelaus intends to strike Helen; captivated by her beauty, he drops his sword. A flying Eros and Aphrodite (on the left) watch the scene. Detail of an Attic red-figurekrater c. 450–440 BC (Paris, Louvre)

The bronze coin struck in 350–300 BC in Ophryneion which was considered to be the site of the Tomb of Hector. Obverse depicts bearded Hector wearing triple crested helmet and reverse depicts infant Dionysos.

Hector Admonishes Paris for His Softness and Exhorts Him to Go to War by J. H. W. Tischbein (1751–1828)

Troilus and Polyxena fleeing. Kylix, by C-painter, c. 570–565 BC, Louvre (CA 6113), black-figure Attic. That there are two horses shown side by side can most clearly be seen by looking at their legs and tails.

Achilles about to pursue Troilus and Polyxena from his position behind the well-house (reverse side of above).

Achilles seizing Troilus by the hair as the youth attempts to flee the ambush at the fountain. Etruscan amphora of the Pontic group, ca. 540–530 BC. From Vulci.

Athena directing Achilles to attack Troilus. A feature of the tale not available from written sources. Detail of an Etruscan red-figure stamnos (from a pair known as “Fould stamnoi”), ca. 300 BC. From Vulci.